Instrumental’s flagship product, TalentAI, monitors billions of data points each day from sources such as Spotify and other socials to deliver trend intelligence on emerging artists to the A&R and talent spotting teams in music labels, publishers, promoters and marketers.

The new funding will see Instrumental significantly increase their investment in machine learning for ‘faster identification of high potential, emerging artists’.

It was a review of Spotify’s Founder and CEO, Daniel Ek’s, presentation at the company’s first ever Investor Day.

The piece really zeroed in on Ek’s proclamation that, “Our mission is to enable one million artists to live off their work.”

Ek stated that there are currently about 22,000 artists that fall into this category, up from 16,000 in 2015.

“IT’S PROBABLY FAIR TO BE CONSERVATIVELY PUT SPOTIFY’S ANNUAL ‘TOP TIER’ EARNINGS THRESHOLD AT APPROXIMATELY $50,000 A YEAR.”

He labeled these artists “top tier”, suggesting that they are in the elite band of acts that can live off their work solely from the revenue they generate from Spotify.

Unfortunately, we don’t know exactly how to quantify what “live off their work” means financially.

Depuis 10 ans, les évènements cinématographiques constituent une nouvelle offre culturelle qui connaît un important développement au plan international. Les évènements cinématographiques sont des spectacles des arts de la scène captés dans une salle de spectacle et diffusés ailleurs sur écran géant dans les cinémas, projetés en direct ou en différé. L’exemple le plus connu est celui de l’opéra du Metropolitan Opera de New York qui capte et diffuse ses opéras partout dans le monde depuis 2006. La captation et la retransmission de spectacles des arts de la scène sur écran géant est ainsi un phénomène récent, qui pose des questions inédites au développement des arts de la scène québécois.

A partir du 1 er avril, un abonné en déplacement dans l’Union européenne gardera l’accès à ses services numériques.

La culture s’inscrit donc de plain-pied dans l’attractivité d’un territoire. Avec comme conséquences la création de pôles de compétences et de filières professionnelles qui renforcent les bassins d’emploi.

Over the last 10 years, the online proliferation of cultural content has increased the importance of not only of this content, but also of the platforms that make it accessible. Intermediaries, through their influence and dominance, have become the main gateway to free online content. This clear finding must form part of the proposal for a copyright directive.

Naturally, the text must be adapted to reflect digital progress, but this should not be to the detriment of the creative sector and the cultural industry. Parliament must send an unambiguous message by proposing a clear and balanced text.

As part of our ongoing negotiations, compromises on copyright exceptions in the digital market are about to come to fruition, particularly on educational content.

Le paysage médiatique en Fédération Wallonie-Bruxelles est riche d’initiatives, d’acteurs et de diversité, souvent trop peu connus du public. Il est également en constante mutation. Comment s’y retrouver dans l’offre de médias (télévision, radio, services à la demande, presse écrite d’information, services de médias électroniques…) ? Quels sont les services disponibles ? A qui appartiennent-ils ? Quels en sont les contenus ? Quels sont les groupes de médias actifs en Fédération Wallonie-Bruxelles ? Comment mesurer le degré d’indépendance et d’autonomie des télévisons et des radios ?

Le secteur audiovisuel remet une analyse globale du projet de révision du décret sur les Services de Médias Audiovisuels (SMA)

L’avis remis au Gouvernement exprime les conclusions du secteur audiovisuel sur l’ensemble du projet de réforme du décret et recommande notamment de maintenir la notion de pluralisme structurel au cœur du dispositif.

A la demande du Gouvernement, le secteur de l’audiovisuel réuni sous la forme d’un Collège d’avis (CAV)[1], s’est penché lors de plusieurs réunions sur l’avant-projet de révision du décret SMA[2].

Ce projet envisage une série de modifications du cadre actuel, notamment sur les questions du pluralisme des médias, de promotions des artistes de la Fédération Wallonie Bruxelles et plus largement des dispositions concernant les télévisions, les radios et les distributeurs.
L’avant-projet prévoit enfin une refonte de la composition du Collège d’avis qui représente l’organe de corégulation intégré au CSA.

Saviez-vous que les concerts possédaient des vertus insoupçonnées ? Outre le fait de nous faire perdre plus de poids qu’une séance de sport, les concerts auraient d’autres bienfaits selon une nouvelle étude menée par la société britannique de téléphonie mobile O2. On apprend en effet que l’énergie déployée lors d’un événement musical en live permettrait aux individus de vivre plus longtemps.

Promoting catalog on streaming is a dramatically different proposition than pushing physical product, according to a veteran distribution executive. “Format changes have always given catalog a bump,” the executive says. “But what’s different now is the idea of lifetime value — before, you were trying to get people to buy something once, but now you’re trying to get people to keep coming back.”

Key to that repeat business is discovery, which is generally discussed in terms of new music but is just as relevant for catalog. “When a song or an artist is featured on, say, [former] President Obama’s Spotify playlist, or in film or TV or in a commercial, it can lead to a big boost in streaming numbers,” says another major-label executive. “For example, [the N.W.A biopic] ‘Straight Outta Compton’ led thousands of people to discover N.W.A and Ice Cube and Dr. Dre’s older cuts.”

Le plan d’action précis de la politique culturelle sera dévoilé dans les prochaines semaines. Mais le budget de mardi établit déjà les quatre grands axes :
Rapprocher la culture des jeunes : 113 millions.
Favoriser la création : 168,9 millions.
Appuyer la culture dans toutes les régions : 110,7 millions.
Déployer la culture dans l’espace numérique : 116,3 millions.

Booking gigs without putting any effort into it? How absurd! And yet, I’ve had to book very few of my own gigs in the last seven years (if any), and I’ve still had more than my fair share of well-paying and creatively fulfilling gigs. So, I’m here to tell you that it is possible. I’m not going to promise you, however, that there isn’t some legwork involved in getting to that point. But once the right pieces are in place, much of it can happen on autopilot. So, here are the steps you’ll need to take if you don’t want

Post-revelation, my entire mentality shifted, and the idea of being an artist morphed into being a creative entrepreneur. I realized no one was going to care about my music and my world as much as I did, and this freedom from others’ expectations opened up my perspective of what was possible as an initially self-funding independent artist. I began building up areas of my career, block by block.

Deezer, as a streaming service, needs to pay royalties to music providers (record companies that make their music available on Deezer) as well as publishers and copyright collective management organisations so that the music you listen to gets payed at the right price according to the number of times it has been streamed. We also need to generate and send them financial and statistics reports to allow them to pay their own right owners (performers, song writers) accordingly. Reports are also sent to various other partners (charts companies for example).

Daniel Ek wants Spotify to flatten the ‘gatekeepers’ of the traditional music business.

In doing so, he says, the platform will grossly improve the amount of money that a great swathe of artists are making from their craft.

Ek offered some revolutionary patter at Spotify’s Investor Day in New York earlier this month, where he boldly informed his audience that his service “doesn’t believe in gatekeepers” – before laying down a thrilling, scene-stealing proclamation: “Our mission is to enable one million artists to live off their work.”

This sounds absolutely brilliant, of course.

Especially when you consider what’s been said many times about those dastardly music biz ‘gatekeepers’ – that they have constructed such an elaborate maze of an industry, only the exclusive ‘one percent’ can ever hope to make the big bucks.

The ‘one percent’. Remember that phrase.